Megan Francis Sullivan,  Marie 148 , 2014, c-print, 50 x 62.5 cm; Photo: Renke Klaproth

Megan Francis Sullivan, Marie 148, 2014., C-print, 50 x 62.5 cm; Photo: Renke Klaproth

It was quite a week and weekends in the German-speaking lands, where Munich’s Various Others, Zurich Art Weekend, and Berlin Gallery Weekend all managed to coincide and jointly usher in the start of the season.

Ivan Gallery and Temnikova & Kasela at Spike Berlin; 3–30 October 2020

Ydessa Hendeles, The Steeple and the People, 2018, detail

From Munich to Berlin, it’s time to celebrate the High Holydays with a few jaunts to non-commercial spaces, and an apologetic butt-dial or two.

 Kaitlin with “Trust No One” bracelet, April 22, 2016. Photo: Olivier Zahm 

Kaitlin with “Trust No One” bracelet, April 2016; Photo Olivier Zahm 

In her new column, KAITLIN PHILLIPS recounts the drama of finally getting her own pad, and quickly finds out that she has no lights, or buzzer. How will people get in to her housewarming party? Read on to find out.   

At Spike Berlin / 24 September, 2020

 Installation view "Josef Bauer. Demonstration" LENTOS Kunstmuseum Linz, 2020 Foto: maschekS.

Installation view “Josef Bauer. Demonstration”, Photo: maschekS

By Klaus Speidel

 Screenshot of Cassie Shao, Synched , 2018

Screenshot of Cassie Shao, Synched, 2018

“Friendly Ghost” at Miriam Gallery, Online 

By Adina Glickstein

 Photo: Yuval Sagiv

Photo: Yuval Sagiv

Are the trees watching us?

 Bioluminescent mushrooms (of the genus Omphalotus).

Bioluminescent mushrooms (of the genus Omphalotus).

Photo © Alison Pouliot

The production of the mushrooms we like to eat is just a small fraction of what the fungi that produce them do. Serpentine Galleries curator BEN VICKERS had the chance to pick the brain of MERLIN SHELDRAKE, who has just published a memoir on the massive underground network of the magic mushroom.

 Overtime (Black Fate) , 2008 Oil on canvas, 46 x 61 cm

Overtime (Black Fate), 2008, Oil on canvas, 46 x 61 cm

New York’s art world is filled with careerists, but it is also filled with those who consciously moved away from the art machine. E’wao Kagoshima, nearly eighty years old, falls into this latter category, a painter who brings his brush with him everywhere he goes, treating the city as his canvas and marketplace.

By Sven Loven

 Composite photo of swifts in flight in late summer

Composite photo of swifts in flight in late summer

DEAN KISSICK’s latest column is an ode to the coming fall, where New York is struggles to bring normalcy back into play. But when was New York ever normal?